New Releases from Canyon Cinema

From: Lauren Sorensen (email suppressed)
Date: Mon Jan 28 2008 - 09:58:01 PST

New Releases from Canyon Cinema


questions & more information:
145 Ninth Street, Suite 260
San Francisco, California 94103


from the following filmmakers*

*descriptions and relevant info follows

/Leland Auslender
/Dan Baker
/Daniel Barnett
/Pip Chodorov
/Sandra Davis
/Jules Engel
/Takahiko Iimura
/Lawrence Jordan
/Saul Levine
/Ross Lipman
/Tomonari Nishikawa
/Tom Palazzolo
/Abraham Ravett
/Ken Paul Rosenthal
/Tyler Turkle
/Timoleon Wilkins

Leland Auslender

Venice Beach in the Sixties: A Celebration of Creativity

From 1960 to 1964, I lived in Venice Beach, California, then known as “Venice, Slum by the Sea.” It was also the heart of the mushrooming beat and hippy cultures. Its free-spirited, flamboyant inhabitants fascinated me, and I filmed all who attracted my lens. I was particularly drawn to creative characters who courageously lived their unconventional lives.

Today, 43 years later, I have edited this footage into a 15-minute documentary titled "Venice Beach in the Sixties-A Celebration of Creativity. It includes encounters with talented-sculptors Taki Camille and Ron Boise; eccentric Big-Daddy Eric Nord; Venice-West-Café creator, gentle-poet, and fiery Peace-and-Freedom-Party founder John Haag; brilliant-satirist Claire Horner; a hippy Halloween costume party; a hip “un-costume” party, with erotic dancers dressed only in body-paint; and my single encounter with the entheogenic substance LSD, a life-enhancing experience that unveiled to me the mystical universe in its eternal divine aspect. "Entheogenic" translates from the Greek as "Finding God Within," and that's what this film is all about.

Originally shot in 16-mm color, it has been shown at the Hollywood Egyptian Theatre in the American Cinematheque.

2007, DVD Sale: $35 home use, $200 institutions

Dan Baker


"Heartbeat. Out of a sick morass of reds and yellows, blacks, burns, and direct-to-film scratches, arises the (post) post-industrial terror of our collective oil-stained subconscious. Only three color tones are necessary to conjure up a veritable prehistoric nightmare or The Element of Crime. The primordial fire gives way directly to digital-age carnage and reenforced titanium imperialist ambition. Dripping. Syrupy glimpses of fighter pilots. Glassy eyes. Spindly towers waver in the nuclear breeze. Preparation for battle against comet field super nova background. Image would be clearer without the toxic pyro-fog. But instead, it's heat without season, drought without cycle; this moment is the unforeseen arrival, the final annihilation. Chirp your last, all precious consumer-constituent. Representation becomes survival, as the farce of authority crumbles along with every other vestige of a frantic, deluded civilization. The sun has burst open wide and spills out a thick, swea
ty mix of techno-warfare and rich, fleshy industry. This is what man-made hell looks like. Echoes. Sci-fi meets hearts of darkness. It's a vision for rapture obsessives. But ecology replaces old time religion. Only no one's listening. We are the Hindenburg, the Titanic, the World Trade Center. A figure appears in the lower right corner, arms outstretched, a stand-in for humanity: Welcoming?... Challenging?" - JT Rogstad, TIE, The International Experimental Cinema Exposition

16mm, col/so, 6.5m, Rental $25

Daniel Barnett

An Anagram

On August 19, 1991 when Mikhail Gorbachev was nearly overthrown in an attempted coup, ABC news sent Gary Henoch to Moscow to cover the events that followed. Henoch had been ABC’s Moscow producer/cameraman in the early 1980’s and he was astounded at the changes in Russian following the collapse of Communism. He asked his friend, Russian scholar Harlow Robinson to join him in Russia to document the impact of the changes in Russian society. Upon his return, after weeks of filming interviews and street scenes in Moscow, Yoroslavl, and Rostov Veliky, he turned the footage over to a well-known PBS series, but the rough-cut that emerged appalled him and he pulled the footage.

Some months later I was editing an industrial that Henoch had shot. He stopped by the editing room and we fell into a conversation. I was impressed that such an experienced hand would show up and ask if there was anything I needed that he failed to get. Was there anything he could have done better? In fact there was nothing. He was by far the best cameraman whose footage I had the honor to edit.

He told me the story of his trip to Russia and asked if I wanted to see the material. There was forty hours of it, and it blew me away. I saw in it the results of a civilization that had had its belief system knocked out from under it.

He saw that my passion for the footage was genuine and offered to give it to me to do with as I pleased. Over the next eleven years, in my spare time, and in between other jobs, I would work on the footage, solving one structural problem after another, until I finally became satisfied that I had caught the essence of the story.

An Anagram is an essay in changing parts. It trades in what Paul Auster calls “a syntax of the eye, a grammar of pure kinesis.” It wears the soul of historical disappointment on its sleeve.

Limited edition DVD (NTSC), 42m, $175 sale

Pip Chodorov

Faux Movements

Produced by: Les Productions Aléatoires and CNC.
Assistants: Nicolas Rey, Marie-Odile Sambourg.
Music: Gerard Pape.

Cinema is about the illusion of movement. The filmstrip is made up of individual pictures in succession. The phi phenomenon explains how the brain creates bridges from frame to frame, filling in the gaps, creating the illusion of smooth movement during the black intervals between frames. The perception of movement is processed in areas 17 and 18 of the visual cortex. Neurons in V1 and V2 are responsible for identifying objects in motion, their speed and direction, and global motion across the visual field. This information is processed and passed down to V5/MT where all stimuli are integrated, specific neurons determining specific perceptions, such as upward motion or forward motion. These perceptions can be tricked - cells adapt to motion stumuli and in the absence of that stimuli, produce the opposite perception. Staring into the center of the turning spiral causes forward motion detectors to adapt to that stimulus; the still picture of the train then appears to swell out.
 This film follows research started in "Charlemagne 2: Piltzer" which concentrated on the perception of color and the creation of phantom colors not present on the film strip through flickering. In "Faux Mouvements", forward and backward motions occur together, movement in different directions are combined. We perceive motion in images that are in fact still. We can also see references to the spiral of the film reel, and the negative and positive of the film process.

2007, 16mm color/sound, 12 min. Rental $35

Sandra Davis


My brother was disabled by muscular dystrophy and used a wheelchair for most of his life. Despite the long, gradual degeneration of his physical condition, he lived with great spirit and heart, married, raised two children, volunteered for his church and was still working at his profession and building his fish pond on his land, when he died suddenly of complications of MD at age 52. In an irony of life, a little Christmas message from him arrived two days after his sudden death. This event impelled me to respond with a film. The chair was his mobility in life; the pond he created was his dream. He was my only brother and when I myself was disabled 10 years ago in an auto accident, his attitude of practical adaptations to physical impairments was one that made it easier for me. This film is a little elegy song to him, simultaneously celebrating his life and mourning his family’s personal loss.

2001, 16mm color/s, 6.5m, $25
Film or video sale, please inquire.

Ignorance Before Malice

A true story – and the aesthetic sequelae of the filmmaker’s recovery process following a 1993 auto accident. Parallel voices of narrativized testimony describing a woman’s struggle to heal within the American medical system, and a personal rumination on the journey through a sudden rupture of health into disability. Feeling my brain in the act of consciousness in viewing the MRI cells, images from art history, personal history and fantasy exploded. As did the elements of the soundtrack.
Filmed entirely on the animation stand.

2006, 16mm, color/so, 30m, $75.00
FIlm or video sale, please inquire.

Jules Engel

“What I found so wonderfully compelling about [Engel's] work was how it captured the best of what choreography can accomplish, but generally fails to when performed live in the theater. Not only is [the] work constructed to direct the audience's eye to a subtle, minute and particular gesture or shape, but in a manner which can be achieved in a fleeting instant. With just a few images a rhythm is generated that elaborates upon itself; five images which began moving in unison, subsequently break Ho a canon and then a fugue. These images, while still retaining their initial quality, permutate, providing 1 2 5 variations on a theme, each compelling and mesmerizing. This use of repetition and the subtle variations that naturally arise, embodies choreography at its most successful.”
-Janice Margolis, Dancer/Choreographer

In 1939 he created choreography and color for Fantasia and, after serving in the Army Air Force Motion Picture Unit in World War 11, was one of the original members of U PA Studios-bringing Mr. Magoo, Gerald McBoing, Madeline, Icarus Montgolfier Wright Iscripte d by Ray Bradbury; Oscar nomination for Engel and other notable characters to the screen. Simultaneously he painted, printed, constructed, traveled and taught. This exhibition of his work opens with drawings of 1939 and extends through films of the 1990s.

He has received many awards-most recently the Norman McLaren Heritage Award in 1992 and a 'Lifetime Achievement' Award at the Cardiff International Film Festival in Wales, 1994. From February to April 1997, The Donnell Media Center, New York celebrated the art of Jules Engel and the CalArts Film/Video Departments with the series "The Animated Film: A tribute to Jules Engel and CalArts Animation."
Engel was founding director of the Experimental Animation Department at California Institute of the Arts in 1971, and taught there until his death in 2003.


1977, 16mm b/w sound, 4 min. Rental $25


"In Silence, Engel mixes delicate black-and-white patterns which subtly flicker to produce brief sparkly afterimages (rather like the patterns generated when you close your eyes and press against the lids) with the written word 'silence', suggesting an analogy between Cage's advanced music and a possible kind of optical silence."
- Dr. William Moritz

1968, 16mm, color/silent, 3min. Rental $25

Train Landscape

Music by Stan Levine.

"Black and white forms, 'lights,' signs flickering, introduction of blue, tan, brown, increasing effect of shimmer."
- Christopher Mulrooney

1974, 16mm, color/sound, 3min. Rental $25

Shapes & Gestures

Music by Steve Goldman

"If you recognize a masterpiece, here is one. Fischinger's Radio Dynamics is the basis by a distant kinship. If Frank O. Gehry were a genius, his buildings would look like this, and same goes coincidentally for Richard Meier. Albers' visual conundrums, a dash of Synchronism, to an inspired score by one Steve Goldman." - Christopher Mulrooney

1976, 16mm, color/sound, 7min Rental $30

Dance/Lines in Space

Music by Elisabeth Bartfai

1987, 16mm, color/sound, 3min. Rental $25

Gallery 3

Music by Barry Schrader.

1987, 16mm, color/sound, 6min. Rental $30

Villa Rospigliosi

Music by Elisabeth Bartfai.

"No less complex are referential films like Villa Rospigliosi and Gallery 3, which consciously evoke the ironic antithesis of exhibition in a museum/gallery and exhibition in a movie theater. The outline of Villa Rospigliosi (a fictional Italian museum) remains on screen throughout the film, reminding us (like the mirrors in representational paintings, or like the serial imagery of 'Black Windows' in Engel's own paintings of the 1960s) continually of the viewing space (as a doubly-coded self-reference, or displacement) which can show equally the ascetic calligraphy of Cy Twombly, the naïve 'magical' charm of the bird trapped in an illusory Thaumatrope cage (or is it a real pigeon whose liveliness outside the gallery window distracts from the 'nature morte' paintings inside?), and dazzling Post-Modern collages (simultaneously referencing painters Rosenquist and Rauschenberg as well as filmmaker Pat O'Neill) in which repetitive cycles of representational figures brush shoulder
s with non-objective forms. Elizabeth Bartfai's ravishing and clever collage of moments from Respighi's 'Botticelli Pictures' brilliantly reinforces this meditation about Art and how we see it."
- Dr. William Moritz

1988, 16mm, color/sound, 4min. Rental $25

Takahiko Iimura

Experiments in New York

Three short films all shot in New York were compiled. The first, "New York Scenes," 1967, is sketches of certain scenes and portraits of the filmmaker's friends and other people. It is divided into five "chapters" including, a famous filmmaker, Jack Smith with his film "Flaming Creatures." The film is made with one scene per chapter, and the chapters are "Linda with a lens," "Jack Smith with his film "Flaming Creatures," "Fire hydrants on Broadway," "Akiko on the roof," and "A Hippy in the Central Park."

The second film, "New York Hot Springs," 1984, was made with the steam coming out of manholes, a typical scene in the winter on the streets of New York, which reminded him of the Japanese hot springs in volcanic mountains. Consisting of shots of various steam at 10 locations in the city, the film is edited with each shot (5 seconds) in successive order and is rotated 10 times. A kind of Structural Film you might say. Since the form of the steam changes every moment, you are looking at new steam even at the same location.

The third film, "Talking in New York," 1981, is a kind of first person cinema where Iimura is the cameraman as well as the actor. Acting like a total stranger in the city who does not speak or hear the language, he walks with a camera to such sight-seeing spots as Times Square, and the top of the Empire State building, etc., only listening to himself speaking the words: "I hear myself at the same time that I speak" in two languages: Japanese and English. The words are a quotation from the book by Jacques Derrida, French philosopher, which he calls "phenomenological essence." (T.I)

DVD, 1967-1984, total 29min; $80 for home use, $160 institutional

This is a Region Free DVD.

Fluxus Replayed

Destroying a violin by Nam June Paik, and rolling up with bandage all over the body of the players in a concert by Yoko Ono, with such radical actions Fluxus (an art group organized by George Maciunas) shocked not only art world, but also a society at large. A historical document of international avant-garde group, Fluxus performances in New York, 1991, which reproduced the performances in early 1960s, an origin of art-performance, with the works of the main artists: Nam June Paik, Yoko Ono, Dick Higgins, George Brecht, Allison Knowles, Ben Patterson, Jackson Mac Low and Emmett Williams. --T. I.
"Taka Iimura is a senior figure among contemporary Japanese artists and has been working with film, sound and video since the 1960s. He was one of several Japanese who, coming from a 20th Century tradition of avant-garde intervention,1 contributed to the Fluxus group in the 60s. Like many media artists, Iimura made recordings of contemporaries and their work. Alongside his film and video artworks, (the video Observer/Observed reviewed in Leonardo 35.1), portable video enabled documentation, (and general note making), more economically than film. As the cycle of experimentation moves through another generation, glimpses of precursors through archive recordings of this kind help ground artists surviving words and artworks."

-Mike Leggett, Leonardo Digital Reviews, MIT Press
DVD, 1991, b/w, 30m, $100 for home use, $200 institutional use

This is a Region Free DVD.

DVDs now available for the following Iimura titles:

John Cage Performs James Joyce
1985, VHS, color/so, 15m, $100 home use
DVD $100 for home use, $200 institutional use

MA: A Japanese Concept
1975-1989, VHS, color/so, 40m
VHS Sale: $90 home use
DVD $90 for home use, $180 institutions

A I U E O NN: Six Features
1994, 16mm, color/so, 7m, Rental $30
VHS Sale: $45 home use
DVD 15min. $70 for home use, $140 institutions

60's Experiments
2002, DVD sale: $100 for home use, $200 institutions

Seeing / Hearing / Speaking
1975-1987, VHS, b&w/color/so, 48m, $70 home use DVD $90 for home use, $180 institutions

DVD $100 for home use, $200 institutions

Lawrence Jordan

Our Lady of the Sphere (35mm blow-up from 16mm)

 Animation. The mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure. A classic. Show it to anyone who likes movies.

"A beauty ... a genuinely mystical exercise." - Howard Thompson, The New York Times

"OUR LADY OF THE SPHERE - perhaps Jordan's most exquisitely perfect creation - is a color collage of roccoco imagery juxtaposed with symbols of the space age. The images metamorphose, transmute, interpenetrate and otherwise change with the fluid effervescence of bubbles rising out of water, punctuated by sudden flashes of light, alarm buzzers and abrupt visual surprises. It is a mystical, jewel-like creation, like a Joseph Cornell box come to life." - Thomas Albright, San Francisco Chronicle

"A sense of mystery and adventure. Jordan is in his own distinct way a magician." - Donald Miller, Pittsburgh Post-Gazette

Awards: First Prize, University of Cincinnati Film Festival; First Prize, University of Wisconsin Film Festival; Second Prize, Kent Film Festival; Second Prize, Ann Arbor Film Festival.

Exhibition: Museum of Modern Art, NY; NY Film Festival; American Avant-garde Exhibition, Tokyo; Pacific Film Archive; Pompidou Center, Paris.

1969, 35mm blow-up from 16mm, color/so, 10m. Rental $60.

Saul Levine

Note To Pati

"Note on snowstorms in February-March '69. The restoration of the landscape begun to show friends on west coast violent beauty of this period. Childhood memories, snowball fights, sledding, etc., and how I felt about Medford where I live kept entering into the film. The principal birds in the film are the blue jay and the crow, both beautiful, smart and ruthless." - S.L.

1969, 16mm, color/silent, 18fps. 8 min. Rental $25

Restoration 16mm blows-ups of 8mm films by the National Film Preservation Foundation, Anthology Film Archives and BB Optics.

The Big Stick/An Old Reel

"The Big Stick/An Old Reel" [...] "intercut[s] two Charlie Chaplin shorts centering on policemen with newsreel footage of police crowd control and street fighting. Levine questioned the social implications of media, not only by making temporal, aesthetic and contextual comparisons of his sources, but by presenting this discomforting ragout in a film gauge whose cost, availability and mobility make simply working it an intrinsically political gesture. Levine also understood how to use very fast cutting in old-style 8mm, a difficult task in that the splice is in the middle of the frame. A cut is therefore void of illusion, and in fact threatens to obliterate a weak image...

"... Levine's adroit use of graphic action from the newsreels and close-ups from the shorts changed the rapid cuts from awkward stumbles to almost profound superimpositions." - James Irwin, Artweek
1967-73, 16mm, color/si, (18 fps) 17m, Rental $65

Restoration completed by National Film Preservation Foundation, Anthology Film Archives and BB Optics.

Note to Colleen

Opens with a short portrait of Marjorie Keller that I made while she met Colleen Fitzgibbon and I on a corner in New York City. The rest of the film is a note to Colleen a continuation of conversations about portraiture, public and private art, love, friendship and loneliness.

1974, 16mm, color/si, 5m (18 fps), Rental $20

Restoration 16mm blows-ups of 8mm films by the National Film Preservation Foundation, Anthology Film Archives and BB Optics.

New Left Note

As editor of New Left Notes, the newspaper of Students for a Democratic Society (SDS), Levine was at the center of multiple radical political movements. For this film, he employs a rapid fire editing style to create a frenetic, kaleidoscopic portrait of the antiwar movement, women’s liberation and the Black Panthers.

“'New Left Note' is a study of radical politics in radical film form."
- Marjorie Keller

1968-82, 16mm, color/silent, 18fps. 26 min. Rental $100

Restoration 16mm blows-ups of 8mm films by the National Film Preservation Foundation, Anthology Film Archives and BB Optics.

Light Licks

LIGHT LICKS are a series of films which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into frames left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.

Light Licks: By The Waters of Babylon: In the Hour of the Angels

Part of a subseries within the LIGHT LICKS. This film was shot in Cambridge, MA and Jersey City, NJ. It was inspired by ancient apocalyptic poetry, the more recent poetry of Walt Whitman, Carlos Williams, Emily Dickinson, and Charles Reznikoff. There are views of the New York skyline and the Statue of Liberty in the hour of the Angels. Thanks to Nancy Golden.

2004, 16mm, color/si, 23m (18 fps), Rental $90

Light Licks: By the Waters of Babylon: Jamming

"Light Licks: By the Waters of Babylon: Jamming" is another in the sub-series, presents footage of the 5,000,000 people demonstrating at the 2004 National Republican Convention in New York, a wedding in Salem, MA.

2004, 16mm, color/si, 21m (18 fps), Rental $82

Ross Lipman

The Interview

Two women meet at a crossroads…

My one fiction film to date comes from a genre even more rare in the US than experimental work: adult drama. Printed in muted tones that conjure silent film handpainting, and merging theater-based naturalism with an elliptical psychological encounter, The Interview at once utilizes and destroys mainstream narrative expectations.

Featuring Lisa Black and Julie Queen. Cinematography by Babette Mangolte. (San Francisco/Los Angeles)

Official selection, Oberhausen International Film Festival Touring Program, 2004, Sammlung Goetz collection Munich.

2004, 35mm, color/so (1.37; Dolby SR), 32m, $100

Rhythm 06

Part of the Urban Ruins series. Filmed in a decaying housing estate in east London, Rhythm 06 renders the outer trappings of internal collapse, a choreography of layers of the real. This new reworking of Rhythm 93 transposes Michael Whitmore’s ethereal score for 10-string guitar and overtones on Carolyn Roy’s original riveting hypernaturalist performance.

2008/1994, 35mm, color/so, (1.37; Dolby SR), 9m, $45

Tomonari Nishikawa


The original intention was to answer a question: how cinema can be the best art form, showing the perfect dualism of Apollonian and Dionysian Art.

This film has four parts, separated by the technqiues I used: photogram, single-framing, shooting 16mm filmstrips by a 35mm still SLR camera, and reticulation. The sound information of the photogram and the images shot by an SLR spread on the optical soundtrack area, and I scratched the optical soundtrack area for the sound of the single-framing and reticulation parts. I made this film as my senior thesis project at SUNY Binghamton, Julie Murray was my advisor.

2003, US/Japan, 16mm, b&w/so, 6m, Rental $25

Market Street

As I am interested in the projection apparatus and human visual perception, I carefully juxtaposed images on Market Street by single-framing, in order to create certain happenings on the screen. By studying my super 8 films, Sketch Film #1 and Sketch Film #2, I made decisions for sequences of this film before working on this project. No re-photographing technique is involved. The result may look abstract, yet representative enough to show the characteristics of the street.

This film was commissioned by the San Francisco Foundation and the Exploratorium, for the event: A Trip Down Market Street 1905/2005: An Outdoor Celebration.

2005, 16mm, b&w/si, 5m, Rental $25

Into the Mass

Attaching two super 8 cameras on my bicycle, one on each pedal, I captured the side views of streets, while riding the bike from the Headlands Center for the Arts to San Francisco. The ride joined in the the Critical Mass, an event by San Francisco bicyclists on the last Friday of each month. The dual projection image shows the new landscape of the city.

2007, 16mm dual projection, color, silent, 6m, Rental $45

Tom Palazzolo

Four films

Rita's on the Ropes
Enjoy Yourself
Down Clark Street
Tom's nostalgic reminiscence of 1960's Chicago blends his vintage footage with new. It is a chronicle of a time past and a compassionate and sometimes humorous look at the forgotten characters that populated Clark Street.
DVD Sale, $35 home use, $150 institutions
Four films, Volume 2
Rickey & Rockey
Love it Leave it
"Gay for a Day", the 1976 Gay Pride Parade
DVD Sale, $35 home use, $150 institutions

DVDs now available for the following titles:

Marquette Park
1976, 16mm, color/so, 25m, $75
DVD Sale, $35 home use, $150 institutions

Caligari's Cure
1982, 16mm, color/so, 70m, $135
VHS Sale: $50, DVD Sale: $35 home use, $150 institutions

Abraham Ravett

Forgotten Tenor

1994, DVD sale $75 individuals, $150 institutions

Lunch With Fela

2005, 59 minutes, sound, DVD $50 Individuals; $100 Institutions

Three Films by Abraham Ravett: Half Sister, In Memory, The March

DVD 1985/1999 60 minutes black and white/color sound $100 individuals; $200 Institutions

Furry's Gift

A 1976 performance by the legendary blues musician, Furry Lewis, who was 83 years old at the time of recording.

2003, 61 min., sound, originally MiniDV and Beta.
DVD sale $75, individuals; $150 institutions.

The Balcony / The Boardwalk

The Balcony (1987, 48m, si, originally 16mm)
The lives of people are observed within the confines of one, twenty-two story high rise apartment complex and its adjacent courtyard. Shot over a period of fifteen months and from one vantage point, "the Balcony" speculates on the evanescence of all our lives.

The Boardwalk (1998, 29m, si, originally 16mm)
The Brighton Beach-Coney Island boardwalk is a long, winding, ocean front walkway adjacent to the Atlantic Ocean. Photographed over a three year period.

DVD sale $75 individuals, $150 institutions

Short Films Volume II

Zeger's Note,
A Calming Breeze (1984, 17m, so, originally 16mm)
A look at birth and the rite of circumscision.
Toncia (1986, 13m, so, originally 16mm)
In one continuous, twelve minute take, the filmmaker talks with his mother about her daughter who was killed in Auschwitz.
And Then... (2002, 6m, si, originally 16mm)
Turning back, looking at one's past, wondering "what happened?"
Sunday Paper (2003, 11m, so, originally MiniDV)
A moment remembered from a home that is no longer there.
Mizuko (2002, 9m, so, originally MiniDV)
My son's unreturned motel key prompts the imagination to consider lives and "presences" left in that room.
The Visit (2003, 8m, si, originally 16mm)
A child's awakening.
DVD sale $100 individuals, $200 institutions
Reflections of Japan
Horse / Kappa / House
An Abu's Warning (1992, 50m, si, originally 16mm)
A 20th century traveler comes to Japan and is confronted by a landscape, its inhabitants and cultural traditions quite different from his own experiences. Shot in the summer, 1987.
Afterthoughts on a Legend (2002, 10m, si, originally 16mm)
A response to the inklings that resonate ten years after a trip to Iwate Prefecture, Japan.

DVD sale $75 individuals, $150 institutions

Ken Paul Rosenthal

Arcs of Texture

Original Score by Jon Brenner

Audio Collage by Jim Batcho

Underground trains, streetcars, buses and escalators embody the impressionistic beauty of architectural reflections like moving paintings. The face of the city is rendered as a light-infused intersection of people, glass, and concrete. Part 1 takes place underground, with an audio collage mixed from ambient recordings of subway stations and trains. Part 2 takes place above ground and features an original score with gamelans, guitar loops, sampled car door locks and brake pumps.

Awards: Director's Citation, Black Maria Film Festival, 2007.

Exhibition: New Langton Arts, San Francisco, 2007; Athens International Film & Video Festival, 2007; Mendocino Film Festival, 2007; Experiments in Cinema, v2, University of New Mexico, 2007; Mill Valley International Film Festival, 2006; Images Contre Nature International Festival of Experimental Video, France, 2006; San Francisco Arts Commission, 2005.

2006, Digital video, color/so, 6m, DVD Sale $10

Tyler Turkle

Tyler Turkle: Volumes One and Two
33 years of films & videos in a two-volume DVD boxed set.

DVD sale, $24.95

Karen Vanderborght


An ode to the free fall. A mortuary cinematic card made by Vanderborght, for a friend who jumped from his balcony in the village where he was born. So the memory of this village, this paradisiacal holiday resort of the filmmakers' childhood, became more vacant than ever.

1994-96 S8mm color/b&w sound mag. stripe, 10 min $30

What Does She See When She Shuts Her Eyes

A surrealistic whim, an experimentally shot initiation into life's' imagination. Moa, a home-sitter, kills the "why's" in peoples lives. From a filmmaker who destroys films she receives a camera to record her many experiences. She meets different people like a cashier, a soldier, the former projectionist of the Belgian king Leopold III and.... Henna who breeds chicks.

1995-96 16mm color/b&w 14 minutes $35

Images Fatales

What’s the relation between punks and the Flemish Primitives? Is electronic music as dangerous as conducting chemical experiments? Can queer feminists make music videos? Are angels anarchists or sponsored UFO’s? How much DIY can be found in fairy tales? Do people dream of Cinema or does Cinema dream for people? How trashy can digital love be?

Find answers on these and other relevant questions on the DVD “Images Fatales”, a collection of film- and video works by Karen Vanderborght. Includes also: Exclusive Soundtracks by Thomas Köner and Köhn. Rare music video’s for Porter Ricks and Kiila.

90 min. of images in colour and B&W.
DVD, NTSC, stereo, all zones.
Produced by FatalimageFatale vzw.
DVD home use price: $20 DVD Institutional price: $150

Timoleon Wilkins

The Crossing

The film begins with a brief flash of molten-red grain followed by a long scene of darkest night-blue sea ripples. Hexagonal refractions and spectral rays puncture alluded-to landscapes—rivers, skies, prairies, trees, mountains. Graphic (yet spatially free-floating) imagery slices intently wrought rhythms of light and dark color fields, producing afterimages. The film concludes with bright, almost-discernable window shapes, hinting at an opening to a different realm.

The title is derived from Cormac McCarthy’s novel The Crossing, the second installment in his Border Trilogy (1992-98). The film was created while under the joyful influence of these sensuous nature/ cowboy/ youth/ coming-of-age adventures, and is my cinematic analogue to McCarthy's major area of exploration: the uncertain sense of scale that permeates life-changing geographic and spiritual crossings.
Ideal projection speed is 21 fps, where possible.

Exhibitions: BFI 51st London Film Festival-2007
TIE-The International Experimental Exposition, Montevideo, Uruguay-2007

16mm, color/si, 7m, $25 rental

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.